Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malaysia and from Woodstock.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1978.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Lille kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Camberwell Now to the techno kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Jacques Brel. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Camron Feat. Memphis Bleek And Beenie Seigel,
Guru Guru,
Skaos,
Avey Tare & Kría Brekkan,
Wighnomy Brothers & Robag Wruhme,
Talk Talk,
Gil Scott-Heron & Brian Jackson,
Jacob Miller,
Ken Boothe,
Wings,
OOIOO,
Heavy D & The Boyz,
Mandrill,
Porter Ricks,
Oblivians,
John Foxx,
Dorothy Ashby,
Roxy Music,
Bauhaus,
Max Romeo,
Tom Boy,
Jeff Lynne,
Motorama,
Ice-T,
Schoolly D,
These Immortal Souls,
R.M.O.,
The Fire Engines,
Bobby Hutcherson,
the Slits,
Jeru the Damaja,
Davy DMX,
Blancmange,
Kenny Larkin,
Alphaville,
Nils Olav,
Echo & the Bunnymen,
Orchestral Manoeuvres in the Dark,
Joy Division,
Rhythm & Sound,
the Normal,
Roxette,
Country Joe & The Fish,
Severed Heads,
Rapeman,
Brand Nubian,
Peter Gordon & Love of Life Orchestra,
The Music Machine,
Selector Dub Narcotic,
MC5,
Jesper Dahlback,
Reuben Wilson,
Eddi Front,
Joe Smooth,
The American Breed,
Negative Approach,
Jawbox,
James White and The Blacks,
The Evens,
Clear Light, Clear Light, Clear Light, Clear Light.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.